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Fach  Coloratura Soprano  Rossini Tenor  Basso Cantante / Basso Buffo

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Fach  Coloratura Soprano  Rossini Tenor  Basso Cantante / Basso Buffo Overview 1. The PthPath to BlBel CtCanto The Journey to Reims 2. Mid‐Century Romanticism La traviata 3. Toward the End of an Era Falstaff SESSION 1 – ThePathtoThe Path to Bel Canto A Quick Look: Oppyera history before the 19th century Early Baroque High Baroque Reform/Classical Rossini & the Bel Canto Style Fach Coloratura soprano Rossini tenor Basso cantante / basso buffo Producing Bel Canto Operas Florentine Camerata (1570’s‐80’s) Vincenzo Galilei (mathematician, musician) Count Giovanni de’ Bardi (host) Giulio Caccini (musician) Pietro Strozzi (military leader) Ottavio Rinuccini (poet) Girolamo Mei (historian) Theory precedes practice. Words must be understood; polyphony obscures text. Music should reflect cadence of words rather than dance. The Birth of Opera: 400 Years Ago Jacopo Peri & Ottavio Rinuccini Dafne (~1594) Jacopo Peri & Ottavio Rinuccini Giulio Caccini & Ottavio Rinuccini Euridice (1600) Discussing Style: Our Vocabulary Melody the “tune” Harmony chords, combinations of notes Rhythm arrangement of sound in time Texture colors of sound; orchestration Amplitude loudness, volume Text words, lyrics Form structure, architecture Early Baroque Baroque: (Portuguese) “mis‐shapen pearl” Melody in service of text Harmony spare, slow-moving Rhy thm tttext-didriven Texture strings, keyboards, token winds; fluid Amplitude relatively small range Text of supreme importance device: word painting Form through-composed Monteverdi (1567‐1643) HdlHandel (1685‐1759) The Pendulum Swings… From To Simplicity Complexity Clar ity PiPassion Balance Vocal Fireworks Florentine Camerata High Baroque 1590’s ~1650‐1750 Early Baroque High Baroque (Monteverdi) (Handel) in service of text Melody coloratura, fioratura, melismas, ornaments spare, slow-moving Harmony some counterpoint rhythm of speech Rhythm increasingly complex strings, keyboards Texture more winds: token winds flute, oboe, trumpet relatively small range Amplitude terraced dynamics of supreme importance Text secondary in importance mythology & history Subject mythology & history through-composed Form rigid “number” operas Da capo aria: ABA form Baroque Opera Seria: A Rigid Recipe Str ic t s inger hierarc hy (pr ima donna… assoltluta…e sol!)la!) Each main performer must have one aria in each act Lesser artists: Aria di sorbetto No performer may have two arias in succession No aria may be followed by another of the same type Prima donnas traveled with an Aria di baule (luggage) Happy endin g re quired: Deus ex machina The Pendulum Swings… From To Simplicity Complexity Clarity Passion Balance Vocal Fireworks Florentine Camerata High Baroque 1590’s ~1650‐1750 Reform/Classicism Orgg(anic structure (form ≠ formula) ~1750‐1800 Fluid range of emotion Focus on human drama Balance between singing, text, orchestra Mozart (1756‐1791) High Baroque Classical coltloratura, fiora tura, MldMelody stitrippe d of excesses melismas, ornaments some counterpoint Harmony clear foundation increasingly complex Rhythm more aligned vertically more winds: Texture clarinet, horns (dbl winds) flute, oboe, trumpet balance melody, text, orch terraced dynamics Amplitude growth in orchestration secondary in importance Text organic, serving the drama restored to importance mythology & history Subject “regular people” rigid “number” operas Form overture as introduction Da capo aria: ABA form many more ensembles Bel Canto*= Beautiful Singing ROSSINI BELLINI DONIZETTI 1792‐1868 1801‐1835 1797‐1848 “Bellini is the red wine, Donizetti is the white wine, and Rossini is the champagne!” (Edita Gruberova) (*Term not used until about 1880; reaction to Wagner?) Il barbiere di Siviglia Gioacc hino Rossini (1792‐1868) La gazzetta Otello Dominated opera in first half of 19th century La cenerentola La gazza ladra Wrote 40 operas in just under two decades Armida Retired from opera at 37 Adelaide di Borgogna Demetrio e Polibio Mosè in Egitto La cambiale di matrimonio Adina L'equivoco stravagante Ricciardo e Zoraide L'inganno felice Ermione Ciro in Babilonia Eduardo e Cristina La scala di seta La donna del lago La pietra del paragone Bianca e Falliero L'occasione fa il ladro Maometto secondo Il Signor Bruschino Matilde Shabran TdiTancredi ZlZelm ira L'italiana in Algeri Semiramide Aureliano in Palmira Il viaggio a Reims Il turco in Italia Le Siègede Corinthe Sigismondo Moïse et Pharaon Elisabetta Regina d'Inghilterra Le Comte Ory Torvaldo e Dorliska Guillaume Tell D.H. Lawrence Hector Berlioz “I love Italian opera “Rossini’ s melodic –it’s so reckless. cynicism, his contempt Damn Wagner, and for dramatic expression his bellowing at Fate and good sense, his and death… I like endless repetition of a the Italians who run single form of cadence, all on impulse and his eternal puerile don’t care about crescendo and brutal their immortal souls bass drum, exasperated and don’t worry me to such a point that about the ultimate.” I was blind to the brilliant qualities of his genius, even in his masterpiece, The Barber of Seville.” Classical Bel Canto stripped of excesses Melody coloratura, fioratura proscribed ornamentation clear foundation Harmony straightforward, diatonic vertically aligned Rhythm increased use of rubato clarinet, horns (dbl winds) Texture secondary to vocal display, balance melody, text, orch except in opera buffa patter! growth in orchestration Amplitude “Rossini crescendo” organic, serving the drama Text more formulaic restored to importance “regular people” Subject undemanding plot lines overture as introduction Form many more ensembles Aria/Tempo di mezzo/Cabaletta 19th-century Opera Building Blocks Recitative = Dialogue Secco Accompagnato Aria = Monologue Aria (Ca v atin a) – Teepodempo di mezz o – Cabal etta Ensembles = Simultaneous Conversations Monologues, dialogues, internal monologues Opera Buffa: The Lighter Side of Bel Canto Developed from 18th century intermezzi Derived from commedia dell’arte theatrical tradition Components • Farcical story • Quick recitatives • Patter songs •Higher proportion of ensembles • Happy ending FACH Categorization system for opera singers German = “subject” Caveats… Some singers defy categorization. SlbSome roles can be sung biiby voices in more than one category (Zwischenfach). Fach is affected by size of venue, taste of impresario, composition of cast. Dangerous when taken to extreme! FACH: Determining Factors The Highs and the Lows Range singable notes Tessitura common range Registration strongest area PiPassaggio regis ter trans ition (“b reak”) Loudness and Projection Timbre color Weight loudness, thickness Fluidity Agility coloratura Flexibilit y varitiety in dynam ic and color TYPICAL VOCAL RANGES Fach Overview – Soprano Until the late 18th century, all female singers were sopranos.) Soubrette (French soubrette = shrewd) Bell-like silvery quality; “ina/etta” maids, servants Susanna, Despina, Zerlina, Adina, Norina, Marzelline, Adele, Nannetta, Sophie Coloratura (Koloratur: add to an idea using main thought as point of departure) Great agility , decorative (Subtypes: lyric coloratura, dramatic coloratura) Lucia, Queen, Gilda, Zerbinetta, Fiordiligi, Konstanze, Manon, Juliette Lyric (“of a lyre”) Communicate beauty, romance , pathos (JB Steane: “the world’s girlfriend”) Mimi, Violetta , Marguerite, Micaëla, Liù, Countess, Marschallin, Lauretta Spinto (spingere: to push) / Lyric Dramatic Tonal beauty of the lyric and power of the dramatic Butterfly, Tosca, Aida, Leonoras, Lady Macbeth, Sieglinde, Ariadne Dramatic (“horn -and-helmet” ) Cut thru large orchestra; warm and metallic; powerful; flexibility compromised Salome, Elektra, Brünnhilde, Isolde, Marie,Turandot Rossini Soprano: Coloratura Koloratur (German): adding to an idea using the main thought as point of departure Characteristics: Great agility Decorative potential Subtypes Lyric coloratura Dramatic coloratura Examples: Lucia, Queen, Gilda, Zerbinetta, Manon FACH Overview – Tenor (From tenere (to hold): the important line in polyphonic music) Tenore di grazia / Leggiero Flexible, tessitura high (Ottavio, Nemorino, Des Grieux) Coloratura Agility, extremely high range; bel canto specialist (Almaviva, Ernesto, Arturo) Comic (Spieltenor) Character type (Beppe, Goro, Pedrillo, Tanzmeister, Monostatos) Lyric Beauty of tone; “squillo” to project over large orchestra (Lensky, Faust, Rodolfo) (Before1830’s, no full voice above passaggio) Lirico-Spinto to Tenore Robusto Heroic; stamina and volume (Cavaradossi, José, Otello, Radames, Calaf) Heldentenor / Tenore di forza Baritonal hue; powerful midvoice (Florestan, Lohengrin, Siegmund, Tannhäuser) RiiTCltRossini Tenor: Coloratura Characteristics: Great agility Decorative potential VhihVery high range Examples: Almaviva, Ernesto, Arturo Fach Overview – Bass Distinctions between lower voices began in second half of the 19th century Bass-baritone Baritone w/bottom extension , bass w/top extension Don Giovanni, Figaro Basso cantante Lyrical (“singing ” ) bass voice, typically not particularly large Handel low roles Basso buffo (Spielbass) Comic bass Osmin, Leporello, Basilio, Bartolo, Ochs Lyric bass / Basso cantabile More heft than basso cantante, sliggyhtly lower tessitura Dapertutto, Escamillo, Sarastro, Ferrando Dramatic bass / Basso profondo King Philippg, Wagner roles RiiBRossini Basses Basso cantante Lyrical (“singing”) bass voice, typically not particularly large RiiBRossini Basses Basso buffo ( Spielbass) Osmin, Leporello, Basilio, Bartolo, Ochs Session 1: Viaggio Excerpts Venue: Vienna 1998 Conductor: Riccardo Muti Production by Luca Ronconi Cast: Corinna Cecilia Gasdia La Marchesa Melibea Lucia Valentini‐Terrani La Contessa di Folleville Lella Cuberli Madama Cortese Montserrat Caballe Il Cavaliere Belfiore Frank Lopardo Il Conte di Libenskof Chris Merritt Lord Sidney Ferruccio Furlanetto Don PfProfond o Ruggero RiRaimon di Il Barone di Trombonok Enzo Dara Don Alvaro Carlos Chausson Don Prudenzio Giorgio Surjan .
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